













































































































































V .• 



<. 'o ''.';'* -1 a* 'vta*' a <** 

<£» /n> o " o ^-\ 4 ^ „ w > • <£> 

C° °o .«* %> 

V - mi// ^ \ ^ o* 

A °r 



° V ** 

■■■'■ *° V *-”’ A °* ••■.’• A .... % 

- a.‘ isasss-v ■%yAte \/.- A\ •; 

•■ /■•%. ".^p*‘ *« , 

<* 'o.»* .0 O 

^ C 0 ^ °o 

^ 'n 


” ^ ° y<* 4 v»/ > 

b‘' V°.*• • , *v e "°\><•• «\^" 1 v° 

\<f* :% Mk'~ %*** f«: W :§®§V 

4 ' * C- . r\ o , V** .OT^. A '-Qp J °- •A’^, 

- * >v v V\ o^vJ^XT * •'^/JISSS * A/ 

- v ^ >) « <L V <£* * a. X. 

A <. 'o. i 4 G r o A <, 

,V * V ' * * Or c 0 " ° * ^O -Sy^ t ♦ v J® * 

+m& •<*' **oA ^£PsS»«- v-c? 



' > ^ A *v % |3i§^.A o w O o 

^ -*r^* a o • 4 o v • .tv ; <a »*••.'• a 0 

. % A .«••. ■‘cv xy >L^% *> V N \ -'° * 

•- VA ,^A”. \/ ;gv V" A: \ 

,0^ c«’% ^o ^ f 0 ^ °o ^ *• — * 

! -^v - 0 / ;* 

•',/ v^o< 4 *. - °V ^ ■ •.-\* • ■' >° v • - ° °‘v^ 

A A ,>VA % ^ ^ ‘ 

'.M; .c^V 


° </% '°W$W : #*% 

'-•»* A° „.. V ^ 



« c-» r • 

I • < 0 ^ • V 

■ ' ^ w 3i 

. -,* n 0 V 

& * I ' * a! ^ V "-<V ^ 

vp V ,VV% "> V % cv J 

^ ' - A A % A *__, 


P vPG 


V^- /■ 

o V 


*0*0 


~s O o 

o. * ., l • a 0 ■ ^ 

'V -A :<c'-v > 

^ v ° ; v-v 

» y V, v ^ °.-e-s v •* <j- 

,G^ A ^ ..V’ A <V '••** a° -w. 

■ '^^'c <*°* ’&2tfS§- A-r 

' Jy c\ * , n 

°-. f " 1 ' A 0 

r **v> 

♦. /AVk <*» 


t> 

-^M ^4 A V 0 , o*J> 

y v > 

s’ . f> t. , ° • » ■ ’•' ..'' A ■ < %A ° • » 

a^ % t • - ^p (^ l '°' j ^ 'jpifi/yy C° 

' ^ 'v^V v-^'/ %'•-•’ 



,V^v 

S' % 





AO. 


. * 0 
o. *.,-.• a9 -a 

***- ,0^ s 5 * * o v> V •’*“' <A 

^ -A A ,rV/A ^ A * 

. AWA • An G S 

* ° 

* ^ ^ * 



;+ v° 

• ^ V % » * * ”' <A A 5 

r. ^ ^ •«, %/ -I 




a* *’ 


^ a"^ 

r° 

’« aV^. »ww* J 

A ^ '-.a a a <- 

*JF(f//6&> + *P. <r V _ _ 

.'/ V^*/ V 5 ^ V c v^-/ a* 

v . 0 ^ s‘**'. > V X r Y *°- o .0 **••'» > V cv 

•* sam*. s./ .*afe\ ^ 

' . w xvr 

-T// «s \VT 4 

V 

^ 5 - 

A> 


rs* * V > •y^S* ^ % *^K* . ^ ^ 

^ S-. % '-‘V c^^o'** 4 '^ ."•/'<%* 0 V , 

■’« .'^&- -of "W 

4 O 

<L> v<. 


^ * o « 0 \ V 

-#41° » 

^*v 

y V °. 


J>y A V ^ ° T (M$W' A V, %. ; WfV 5g*i 

* A A ^ °yjvr,* a s *.^®s* v ^ °.vW A ^ x 

1 G^ ^ <a '••»* x° *o.«' A < A,'°*‘'' no v V"'** $4 A 

A o«« ^ y ,.", <<> 0 V o°"°- ^O A * l '*t ^ ,0 o 0 "°4 

f .^v °o a Stf/Tpy %■ 0 ° vi 'jpfffiyy* / .*aA\w- ° a 





♦' A* ^ ‘‘^^ + ft o -> 

*r_ A s » • * 's. 

-X * _**./TV*s ^ 



-.0 0 

0 • 

\ 

o 

• • 

O o^ > * )0 

o ‘AfC• 1 a° ; ^"**AfT 0 A *•< 1 * f 0 ^ *°"° Q a 

- ^ ^\'yy, \ y ^ ^ ^ . 

' A^ *'o.*** sG*' ^> '^vv**' A <,»'«•** A°^ *■'••’* aA ^ 

o A ,V^ ’ % C • Ajvs', O s, 

>■*> -/»v. •e-o* :«^«'. 'ok 4 •'£mi&- -'■° 

. v^w.* i- 0 ’v, - -^K”. : •.’SiS.' >°’*, -.aiS'-' .A-* 

V*^\/ V*^‘A %' 

.*. Vs^ ••«»•. %A .•Aj»: A A 

>Ar. A V< V ^ 


,-k t 
1 ♦ , 






* * 



‘V^-V 0 ^ "*'>"° 9 sV 

c\ A *> 

4 ^ av 

»* A>*<< ^ 


• • > ^ ? 


<V '“•* a° •'..*' A <* '».»* ,° v> *'7.*‘ A <r. 'o.. 4 jr 

_^G m *■ 1 ° 0^ o 0 ” 0 *T ^O ^G » k ' # ^ o' 5 ' 0 0 * 0 m *P- 0 ^G * I l t ■<$> qV o w a ^ 

%<? /ig^;* ^a c .v^ck /is#;*. ^a c 


o V 



^W A <b 


.' A 



o • X 



v-o 


G° ^ , 

0 'V'OTT’* y 

*xft«^. * A v , 

AA ;■ 

C^ ^ - ^jfljw^ o aV^\ o 

- * -o? ^ • ^EUI\2^ * a v ">Vv o 

•* <3- v >6- •» ^ ^ 

- .6* *0 'AXT* A 

N (j C 0 " ® * ^O 4 ^ „ t • * * <P. 

V. * c ° A V . c- 

^ ? 4181a: *av* *+$ 


A. *W££V / ^ 

^ % ® - o’* ^ 


T • O 




V * Y * °* C\ 

.* *W/vA V A 



c\ A , VV % V 

* *^W/h> ^ ^ •*dSte* ^ *- ' 

. A A IWmW-' A A : 

* <X, Y Y A^ ■+ ** ^ ^ * ($ 2 ? ■* <lA <* '^jWMQfsr -* 

<> '**>♦ A o* V ♦<7*7* A <*'*.>* A Cr V ♦otT* a 

. ^ A • r c*^v v * o v, C • c ^t v ^ o A ** 

*. c s^sx. »b^ : 





& o ~+yie£v* % * o 

°^. " 1 * A 0 

cv ,o v ,»^ 

> _ ^ ^ * *p. «, 









■ y O ‘ n, ^ ^ ^ ~‘ Q ‘SlpSv 0 ^ ^ - 

' , *°' <>. .0 V ,VV% "> v % A‘o, C\ »0 V AV> > 



• ■& % •. „-, .. .* 

,<S <,-•..* ,6 V ■> *'7'.'>' A 

> A # »■' • ^ o v c 0 " ° + % -A 

o A t ^ C o .I - ®- 

^o 1 


: ; 

; * <> 


* & <t> * 

* ^ A v ♦ - 

V^ v 


aV^. l o 

* V > - 



^ °**■ ^ <a 

,V 0 " o 4 , v / * 


r^; A q 




w yy 

o > 




/ A o &air*s .o A o A o ^ v^sss^/ A - 

A o *'»,'»• a 0 ^ e* « o 0 A O ^ , i * 4 o * 0 " 0 0 </. " 

v % * t# °- CV *0 v **V*% v> v % o. *0 »»V % t> V f**®# o. 

■♦ *>w*v v./ Aflto* V -isseai*. V,/ :^' ^ -♦ **■ A 


, A» S V 

•'./... \ ''••'•'A 






e 

o * g °" a -» r o A y «»■' * * c ° * a /» *o A •*•'•♦ ^ 

C • o A *jeJi7for *v 0 * o A + t 









o V 







, V <J, <* IIVNSSX ° ^ 

o. •■•",•.•’ A 0 ^V. '*0,0° €p r 

t • o. o -0 * 4 * * ^ ♦ / <A f t • © ^ v +'***+ ' ^ 

* aV f jA «0 Ai A * * v -^. <u ♦« 

" vv : . 



\ c? > 


° : 

’ G- A ° 




^ % 

4 A 

n c 0 ° * O •»■'•♦ 

0 .^m-v- J .. y / 




o Y 





O o 

* 


^ 'o. A ^o v ^ *4-r..* j 



* S' <y * 

: vv 


O • A 


4 'v/.s s ^ A- 

D a 5^ ••''•♦ .0^ c ° W • ^ ^b A^ r • v ' a -r ^ 

O ^ ^^/fTTp-y * V •je5?^k^-, ° *'ar/ff7p > T ^y 


• A 

♦ A • 

4 ^ v V 



^° *v 

# 0 ' 

A J ^ 

i ° <?v c.^- »sii® * a* ^ 

; ^ v ° : v-r 

° A ^ Vr V “W; a s ^ 

,* v> « w ^ w 


' G v "o. *'TW S A ^ 'o.A ,' 


o V 



A ^ <j-^ * 

3 *• o »o 0 <y 

' ^ ^ V • A 




o"o l. ^ ^ 

C° ^ ^ ,W%C’ 



- ^ 


o V 


/ --liSv /A ■•^K- ,»■ *- •.’0^:° (j-’"* '-t^s 

^v* - °^. ••"•’ ^° s ■*..»’ a <v ♦••> 

V’ »'* 0 - Cv .0 V ^ V % .C> A <y ■’LsL'* * V ^ 

:iMm- S„^ :£mk‘- %<<■ .'jsSK&* ; AA •* /m ' '• •' ,jaWa ’ - 



^o 


4 O 

o n > ^ 



'A 


o » x 




. : 
* ^y V %<> ° 






0 

♦ ^ ^ * 



* V* ^ 

♦ v ^ 

<w w <*> <0^ "o % ^ # T 4 ' A <V 11 a° 

> 0 ^ o * o & ^O -i^ * ^ ' 0 j* 0^ $ 0 m ° + ^b 9 ^ ' 9 + < ^> i r>A . o w ° 





O, v '.. s 4 A 
„ ^b . G „ v 1 », 

'. ° vT ♦* 

^ i."G 
^3 V 



O 

; A V ”V IW; A % 

*’'.*’■ a <*'••»* ,G V O '.. s 4 A - • ■ A - 

i >» A> (A o * o 'b- > .G^ s q? 

A ^ G u •^^1' o j'®' *C, G A 

- "*& > 

o* a g 0 ^ g° ~ r <i' , 

%'^-v V'^'/ v^v < v^y 'v-^-'A 

v V .. v Aft a ^ ^ «, ^ A^ .VGlEV. A-. .A J* 



G 'V 



♦ <0 rr, 

, b & * 

* r\ * 

; V'*.,.■ 

cv .0* • % > 

l° b n A * Q|ig% " A 

« A V ^ *W^W I> A ^ 
A G v V J AV. ^ ^ 

o A O 'o.. 1 * <G V 

0 w * -» ^b «G^ .'■'*« o^ c 0 " 0 -i 

~y n ’ ap « ' 

b > • ^ ^ 









,s s V 

'«."»’** . 0 ^ ^ /, '.' = y.T 4 ’ A '*•* A 

K 0^ o 0 "°» ^o • A* ■* ^ f 0^ o 




•b. A 


’bG 


o 

» A V *V ° 

» <G V A?> 0 

b *.T.^ 4 A 

0 " O * A & * *■' * + 






^0« 






* A • 

<. *o,\* A .<? A 

b> ,0^ 8 % ^O jA i* 1 '"' 

•- 1 ° ,r ♦w%,’. v. , c 0 aS 

■G -Mj//sy>„\ s^ <i - .. .-G 



r oK 


^ ^ 0^* , 5 • *' %> v v ^ t. ^b v o^ > * vi% v ^ * t. o, v. _*<y , 








• % & ^ 
: ; 


0 ^ <L^ ♦ 


g s V g^iii^. 0 °; 


VA 



* % *+ 4 - 
: vg v : 



o 



























The Book of Fair Women 


Only five hundred copies of 
The Book of Fair Women 
have been printed. 

This is number / ^ 


II II 

3& 35 


a 


as 

«° 


THE BOOK OF 


FAIR WOMEN 


$& 

«© 


THIRTY TWO PLATES FROM PHOTOGRAPHS 

by E. O. HOPPE 

WITH AN INTRODUCTORY ESSAY 

by RICHARD KING 



as 


aw 




NEW YORK 

ALFRED -A KNOPF 


UT<=t>2> 

M ^ 



3,0ml 

a a 


/ 




Contents 

BEAUTY, CHARM & BEAUTIFUL WOMEN 
THE WORLD OVER, by Richard King 


ii 


THIRTY TWO PORTRAITS, by E. O. Hopps 


3i 



Portraits 


i. AMERICA 

- 

Lctcly Lavery 

2. AMERICA 

- 

Mrs. Lydig Hoyt 

3. AMERICA 

- 

Viscountess Maidstone 

4 . AMERICA 

- 

Miss Malvina Longfellow 

5. AMERICA 

- 

Miss Marion Davies 

6. RED INDIAN 


Princess White Deer 

7. ENQLAND 

- 

‘Hebe’ 

8. ENQLAND 

- 

Lady Diana Duff-Cooper 

9. ENQLAND 

- 

Miss Qladys Cooper 

10. ENQLAND 

- 

Miss Kathlene Martyn 

11. SCOTLAND 

- 

Viscountess Masserene and Ferrard 

12. IRELAND 

- 

Miss Qrace D’Arcy 

13. FRANCE 

- 

Mile. Raymonde Thuillier 

14. ALQ 1 ERS 

- 

Madame Revalles 

1 5. SPAIN 

- 

Sehora Tortola Valencia 

16. QIPSY 

- 

Miss Fedora Roselli 

17. ITALY 

- 

Signora Comanetti 

1 a PORTUQAL 

- 

Sehora Maria Di Castellani 

19. RUSSIA 

- 

Mile. Fedorova 

20. POLAND 

- 

Madame Mika Mikun 

2 1. NORWAY 

- 

Miss Olga Morrison 

22. SWEDEN 

- 

Miss Anna Q. Nillson 

23. ARMENIA 

- 

Armen Ter Ohanian 

24. CHILE 

- 

Countess Lisburne 

25. ECUADOR 

- 

Mrs. Haddon Chambers 


26. INDIA *> Princess Monchsa 

27. JAPAN - Mrs. Tokugawa 

28. CHINA - Mrs. Wellington Koo 

29. CUBA 

30. HAITI 

31. HAWAI 

32. DUTCH WEST INDIES 


Beauty, Charm & Beautiful Women 

the World Over 













BEAUTY 


B EAUTY is only skin deep,’ cries Ugliness, pinning her faith on the 
fascination of the Intelligence. * And ugliness goes to the bone,’ 
| Beauty replies, though she fears that that shaft of * wit ’ must 
have originally been spoken by a pantomime librettist. * Handsome 
is as handsome does,’ retorts Ugliness, quoting from the Plain Woman’s 
volume of Copy-Book Maxims. And so this battle of words goes on. 

But Beauty cares nothing at all for maxims. She puts on her most 
becoming hat, her daintiest dress, and goes forth careless and indifferent 
to anything except Middle Age. No shaft of Puritanical censure, she feels, 
can hurt her. Beauty is its own raison d'etre —its own excuse for being 
gloriously alive. It needs no apology, no panic balancing of its debit ac' 
count by moral and intellectual compensations hurriedly placed to its 
credit. In Heaven, it knows, more people will want to call upon Ninon 
de l’Enclos than wish to leave cards on St. Theresa of Spain. And what 
is more satisfying to Beauty than a large audience? Only two things 
really terrify her—the loss of her Good Looks and the loss of her Youth. 
That may be the reason why, au fond, she sometimes envies her plainer 
sisters almost as much as they envy her. Perhaps she knows that they 
play a waiting game, and that at fifty 4 ve it might have been as well for 
her had she been bom ‘ plain ’ too, since henceforward she must enter 
the ‘ plain ’ woman’s world as a stranger, to live as they live, but, unlike 
them, to be for ever tortured by the remark: ‘ All the same, she was a 
great beauty In Her Day!' It is the way her friends apologize for her 
false teeth. 

In the meanwhile, however, she triumphs—triumphs overwhelmingly. 
To the purely physical lure Reason is as unreasoning as Lunacy. In spite 
of that French saying which states that * il faut souffrir pour £tre belle,' 
how often great suffering and great happiness go through life hand in 
hand, the one utterly dependent upon the other. Only the commonplace 
* soul ’ revels in the smug security of the commonplace. Life at its fullest 
is surely a great joy, as well as a great pain! 


12 


The Boo\ of Fair Women 

And Beauty—how glibly we utter the word! Indeed, how glibly we 
utter all those words, the meaning of which is so difficult clearly to define! 
‘ Democracy,’ ‘ Liberty,’ * Freedom,’ * Friendship,’ ‘ Love ’—and, let it be 
owned, the * Hereafter ’!—how often we use the words as a kind of final 
argument, and how often, so mesmerized has become our Intelligence by 
these words, do we accept them without question as something apper 
taining to finality. It is the same with Beauty. To call a woman ‘beautiful’ 
requires no corollary. That is all that need be said! Merely to say it, 
especially if the word is spoken by some one in High Authority, is some' 
times sufficient to create a reputation for loveliness—as women who have 
been the mistresses of kings know full well. The world asks so little more 
of a beautiful woman than her beauty. Which perhaps accounts—though 
in a book of Beautiful Women let it be printed in small type—for so many 
lovely women being intellectually dull! But then, if one is good to look 
upon, one can afford to be dreary company. Loveliness is its own for' 
giveness of intellectual sins. It is a * decoration,’ and we do not ask of 
decorations to be more than perfect in regard to colouring and symmetry 
of line. Success is, after all, but a reflection of ourselves in the world, and 
Beauty finds its reflection in almost every human eye and in almost every 
human heart. Its way through life is indeed strewn with roses—those 
lovely flowers which hide such very vindictive thorns. 

God makes beautiful women; a Plain Woman has to do the best she 
can for herself. Her only hope lies in the faCt that what fascinates Tom 
may leave Dick indifferent—and who knows but that Harry will find that 
she herself is more attractive than any other woman ? Which brings me 
back to a definition of Beauty, and that, being at heart a sluggard, I had 
purposely wished to avoid. 

‘ Beauty ’ is to me but another name for ‘ Harmony.’ It is harmonious 
to some ideal indigenous to the ‘ soul.’ It may only be ‘ skin deep,’ as the 
Plain Woman likes to assert for the benefit of vain schoolgirls, but the 
beholding eye nevertheless endows it with ‘ spirituality.’ It likes to believe 
this loveliness is only an outer symbol of an inner spiritual grace. Which 
faCt will account in some way for different types of beautiful women 
appealing to different types of men—so that even an ugly woman some' 
times hears herself addressed in the language Mars probably used to Venus. 


Beauty 13 

We find in Beauty something more than a realization of what we believe 
to be perfection; we find in it a ‘journey’s end’—or perhaps I ought to 
say ‘lodgment,’ seeing that Beauty is so often fleeting—in the lonely search 
of the ‘soul’ after spiritual sustenance. We give to it our adoration, 
an adoration which none the less overwhelms us emotionally because, 
physically speaking, it is passionless. We bow in worship before it, with¬ 
out—if I may express myself in metaphor tinged with vulgarity—an 
insensate desire to Clutch. For Beauty is also a ‘message’; and, as it 
appeals to something within our ‘ souls,’ so does that ‘ message ’ become 
the more eloquent. Moreover, it has a thousand facets. We can find it 
anywhere, in almost everything that is not mean or debased, hypocritical 
or dishonest. Nevertheless, there are some men who can find beauty only 
in sex; men who are deaf to that ‘song within a song’ which in the 
hearts of so many is as the Psalm of Life. The view of distant mountains; 
the glowing, dancing reflection of the sun setting out at sea; the quiet, 
verdant valleys, whose peacefulness falls on the troubled spirit as a bene¬ 
diction ; a voice, a memory, a prayer—all these things can uplift the heart 
until momentarily it may live in a whole world of beauty. For Beauty 
must be felt within the * soul.’ The senses but convey an impression, the 
‘soul’ translates that impression into terms of Ecstacy. For when we 
come face to face with Beauty, in whatever guise, all that is best and 
purest in our Nature stirs in response, so that at last our ‘soul’ cannot 
live without Beauty. Robbed, as it were, for ever of this harmony, which 
seems to refled: Heaven, even in lowly places, it withers and dies. The 
man who seeks not Beauty can scarcely be said to live; since without 
beauty Life is but a barren wilderness, sodden by the tears of men. The 
Road to God is paved by Music and Poetry, by Art and Literature, by 
all those manifestations of Beauty which are unselfishness, renunciation, 
friendship, love, sympathy, understanding, humility. Man is Spirit as well 
as Body, and just as the physical needs must be satisfied, so must the Spirit 
find Beauty if it wither not nor die. Through Beauty God speaks to 
men; and inasmuch as we seek to bring Beauty into our lives and into 
the lives of others, so we come into closer communion with Him. 

Beauty, then, is something which is in complete harmony with the 
longings of the ‘ soul,’ and through the ‘ soul ’ with God. The old belief 


14 The Boo\ of Fair Women 

that Beauty is the seed the Devil sows to reap his human harvest is an 
exploded blasphemy. Surround men with Ugliness and they will quickly 
qualify themseves for a place in Hell. We take from our surroundings as 
much, perhaps even more, than we give to them. Thus Beauty is surely 
the great ally of Virtue: to the extent that it sometimes fails in its alliance, 
so does it lack true perfection. For as much as our so-called civilization is 
worth to us in happiness, the gift has been a gift from the great poets, the 
great writers, the great thinkers, the great musicians and painters—all 
those who have sought to bring the message of beauty to this world, 
including that supreme artist Nature herself. And this is true, no matter 
how much the politicians, the commercial magnates, kings, princes, and 
potentates may preen themselves on their human importance, pointing to 
their laws, their factories, their palaces, all the evidences of their temporal 
power. Their * message ’ to humanity has only been the fact of their own 
success, whereas, the potent ‘ message ’ of Beauty is at all times a silent 
one, though more eloquent, more uplifting, more encouraging than all the 
pompous diatribes that were ever uttered. In the greatest, most inspiring 
moments of our lives we are always dumb. No words can then express 
the triumphant melody which is surging in our hearts. To the extent 
that we can explain our emotion, so we feel it less. Thus in the presence 
of something beautiful we are at all times mute. The strength of its 
appeal is shown in our subsequent ACTS; and actions, we know, speak 
far, far louder than words. 

Beauty, then, is something which, uplifting us, strengthens the soul, helps 
the spirit to rise above the deadening influence of the commonplace 
monotony of the Everyday. It may not necessarily be essential to our 
success in this world, though to surround oneself with Beauty is surely 
one of the ideals which spur us onward to the attainment of riches, but 
it is surely essential to our salvation ! It is, as it were, the golden thread 
which runs through the plain homespun of life. Without it the pattern 
of our days would be distinctly ‘drab’ on a buff ground. Everything 
that is physically fine; everything that is noble and just, generous and 
kind; everything which gladdens our hearts and sends us on our way 
rejoicing; everything which, as it were, lifts our faces up towards God in 
the high heavens—that surely is Beautiful! I always like to think that 


Beauty 15 

Shelley in his essay on ‘Love’ made Love synonymous with Beauty: 
* “ Thou demandest what is Love ? ” he wrote. ‘ It is that powerful attrac¬ 
tion towards all that we conceive of fear, or hope beyond ourselves, when 
we find within our own thoughts the chasm of an insufficient void, and 
seek to awaken in all things that are, a community with what we ex¬ 
perience within ourselves. If we reason, we would be understood; if we 
imagine, we would that the airy children of our brain were born anew 
within another’s; if we feel, we would that another’s nerves should 
kindle at once and mix and melt into our own, that lips of motionless ice 
should not reply to lips quivering and burning with the heart’s best blood. 
This is Love. This is the bond and sanction which connects not only 
man with man, but with everything which exists.’ 

To make the world more and more beautiful, not in a narrow sense, 
but in the widest and deepest sense possible, that surely ought to be the 
ideal of civilization. And in this ideal, physical beauty has surely an 
important place allotted to it. One is virtuous, after all, for one’s own 
benefit; one ‘makes the best of oneself’ for the benefit of the whole 
world. There is no virtue in being plain, though I must confess it usually 
makes virtue a much easier achievement. As a rule, Nature is more often 
a conscientious than an inspired artist, and there is nothing mere con¬ 
scientiousness requires more than a helping hand. That conscientiousness 
has also its divinely inspired moments—moments which come to it un¬ 
premeditated and unforeseen—that also is a fadt. That is why Nature, 
who ‘bungles’ her best points hopelessly so often, does occasionally 
achieve a veritable ‘ masterpiece.’ That, too, is why Beautiful Women 
have every reason to be proud of their loveliness and seek to preserve its 
colouring and its contour. Moreover, their beauty also absolves them 
from the necessity of being remarkable in any other direction. After all, 
if one is beautiful, it is not also obligatory to be useful. One does not 
demand of Leonardo da Vinci’s ‘ Mona Lisa ’ to be a screen as well as a 
picture, nor appreciate an exquisite piece of Sevres china any the less 
because it is also neither a candlestick nor an ash-tray! We demand from 
them nothing beyond their beauty, and, finding it, we are satisfied. Also 
we count our life worth while according to the loveliness which it con¬ 
tains. Every man starts out in the hope that he will marry a pretty 


16 The Boo\ of Fair Women 

woman. That most men’s taste is not exadting, and love proverbially 
blind, is a blessing for which few lovers are sufficiently grateful. In the 
prayers of gratitude offered up by Humanity to God, such an one should 
be included: ‘Praise be unto Him who makes most of us beautiful at 
some time to some one! ’ Beauty is, after all, its own forgiveness of sins 
in the heart of those who love it. Only when a woman’s looks are fading 
does her husband begin to realize that neither can she cook. Until then, 
he is only too glad to suffer indigestion at her hands. That a beautiful 
woman should die young is, after all, only to wish her the best of all 
possible blessings in this best of all possible worlds. 

‘ As rich and purposeless as is the rose, 

Thy simple doom is to be beautiful.’ 

All the same, what a pleasant destiny! And yet, perhaps, those who are 
permitted to gaze upon beauty without being themselves beautiful are 
the most fortunate of all. And that is the position of most of us, thank 
God. As it is more thrilling to watch a pageant than to take part in one, 
so, to be able to gaze undisturbed upon the Pageant of Beauty as it passes 
before our generation to take its place in the wonderful procession march' 
ing down the ages, is a far more peaceful proceeding than to form part of 
that procession. After all, the most envied in a tableau vivant are not 
those who figure in it, but those who have been able to secure the best 
position from which to view it. The man who secures a ‘ masterpiece ’ is 
far more gratified than the artist who created it. So, while we bow down 
in adoration before Beauty, let us also be thankful that the greatest privf 
lege of all lies in an opportunity to regard it. ‘ Beauty and sadness,’ George 
Macdonald has written, ‘ always go together.’ But to be able to gaze on 
Beauty—that, surely, is the most undiluted joy in life. 


CHARM 


A LMOST every woman believes that, though Nature may not have 
made her beautiful, of her own accord she can achieve charm. 
‘Charm’ is the Possibility which Desire dangles before the 
JL nose of Hope. And every woman, who is a woman endeav¬ 

ours to make that Possibility a Certainty once, at least, in her life. To be 
beautiful is a great deal, but to be charming is of greater value and infin- 
itely less dangerous to one’s peace of mind. Especially to know that one 
is irresistible to some one whom one has no particular desire to resist— 
that surely is everything ! 

What, then, is Charm ? 

Artemus Ward described a charming woman as ‘ born to make hash of 
men’s buzxoms ’—which, though comprehensive, does not lead us very far, 
and sounds perilously near being a cooking recipe. Oscar Wilde said: ‘ All 
charming people, I fancy, are spoiled. It is the secret of their attraction ’— 
which, personally, I disbelieve absolutely. Spoiled people manage to get 
their own way, it is true, since the majority of us are so faint-hearted that 
we find it easier to offer ourselves in sacrifice than play our part in a scbne 
a faire. But the effect of a metaphorical foot on one’s neck is by no means 
a satisfying sensation, though we may endure it heroically. Longfellow 
described a charming woman as ‘when she passed it seemed like the 
ceasing of exquisite music,’ and this, though pleasing to the ear, seems to 
say so much and mean as little as any modern drawing-room ballad. 
Shakespeare, perhaps, came nearer giving us a word-picture of Charm 
when he wrote: ‘ She told him stories to delight his ear; she showed him 
favours to allure his eye ’; but even that description does not convey to 
us much more than the effort of a cook to fascinate a policeman. Charm 
is something more subtle than the ability to tell a smoking-room story in a 
drawing-room way and exhibit the best ‘ points ’ Nature has given us with 
a fine semblance of doing so unconsciously. Perhaps the Dictionary gives 
the best definition when it explains Charm as being ‘ something possessing 
occult power or influence.’ Occultism seems the easiest explanation of the 
personal * sway ’ which some outwardly unattractive person wields over 


18 The Boo\ of Fair Women 

the most unlikely people, people who, by all reason and logic, policy and 
prudence, ought not to be thus fascinated. Love is easier to explain than 
Charm; or rather, perhaps, I ought to add, than that emotion which so 
often passes muster for Love, that emotion which, though it often ends in 
marriage, or divorce, or a six-months’ despair, may arise from no more solid 
foundation than solitude, a moonlight night, and the sex-appeal of two 
people in a ‘ romantic ’ mood. But just as Time is the supreme test of Love, 
so it is also the supreme test of Charm. A woman who is as charming at 
forty-nine as she was, say, at thirty, must necessarily possess something 
inherent in her nature, not recognizable as ‘beauty’ perchance, which 
leads men nevertheless—and, what is infinitely more difficult, other 
women —by a single hair. Charm, indeed, has nothing whatever to do 
with either beauty or youth. Its genius lies in being able to delude the 
world that it is both beautiful as well as youthful, no matter what adverse 
criticism artists may indulge in, nor how many cold, ugly facts Father 
Time may bring forward to dispel the illusion. Real Charm rises superior 
to both. It is a quality which, because it cannot be analyzed, cannot 
therefore be destroyed. So it is easier to call it ‘ Occult,’ which the Dic¬ 
tionary informs us is a power ‘ hidden from the eye and understanding.’ On 
the other hand, perhaps, it may be an unconscious form of mesmerism, the 
mesmerist being as totally unaware of his gift as the mesmerized is of his 
power. 

But if we cannot break up Charm into its component parts, we can, at 
least, say definitely what it is not. It cannot be cultivated, for one thing, 
though life and experience may help to make it finer, more exquisite. Nor 
is it necessarily the natural possession of either beautiful or clever people. 
Most of us have met men and women who were both mediocre in 
appearance and uncultivated in mind, who nevetheless were charming in 
no slight degree, in that the evidence of charm be admiration and friend¬ 
ship. The natural gift they possessed was the power to make all those 
with whom they came in contact feel charming too, and this, 
after all, may or may not be the great secret of Charm ? Beauty is delight¬ 
ful to gaze upon; but it is, as it were, a self-contained quality—we cannot 
share in it except as spectators. But the genius of a charming man or 
woman is that they help to bring out all that is best in other people. 


Charm 


i9 

Beauty only makes other people feel more beautiful or infinitely plainer, 
and either is a very lonely feeling. But in Charm we seem to share; it 
seems to mingle us, not only with the charmer, but with all the world 
around them. Beauty is like a wonderful jewel; but Charm, if I may refer 
to it in metaphor, resembles an ideal home. And who would not rather 
pawn their jewellery than break up a happy domesticity ? It is perhaps 
this feeling which Charm gives us of being perfectly ‘ at home ’ that is its 
most precious possession. So, may be, it is really the one word we give to 
that quality of the mind and heart which mingles both sympathy and 
understanding in equal quantities. Most women, when they desire to 
cultivate Charm, read up the Memoirs of Ninon de l’Enclos, whereas they 
would be much wiser to analyse the attractive qualities of the dog! 
Animals are always charming, because they are always natural; and to be 
natural is ninety per cent of fascination. The reason so many men 
and women are bores is because so many men and women are never con¬ 
tent to make the best of what they are, but are always pretending to be 
what they are not, generally ending their performance by giving a dismal 
caricature of the Ideal they have tried so vainly to emulate. Even honesty 
in this world of masks is charming. I don’t, of course, mean that honesty 
which will scrupulously repay threepenny bits, but the honesty which will 
be content to be exactly what it is, without pretence or disguise, and 
with no additional trimming in the way of either gold lace or sackcloth 
and ashes. An artificial person is never charming, though they may some¬ 
times achieve a charming effect. An honest wrongdoer is infinitely more 
attractive than a Saint who pretends that he has done no wrong. The 
great charm of a charming person is that he can mingle the most diverse 
human elements, bringing them down to the one common denominator of 
Humanity, where all that is true in Nature forges that link which binds 
men together in brotherhood and humility. Charm pierces all disguise: 
its influence is so delightful, since it helps us to be our true selves, re¬ 
prieving us for the nonce from that effort of ‘pretending’ which the world 
expects to find, and is embarrassed when this expectation fails. Charm, 
then, is not a gift like Beauty, but a grateful acceptance, unconsciously 
illustrating in our hearts the fact that it is more satisfying to give than to 
receive. In this way the Loquacious finds a good Listener most attractive, 


20 


The Boo\ of Fair Women 

and the Strong are never so happy with themselves as when administering 
to the needs of the Weak. Two ‘ bom talkers ’ were bom to hate each 
other; just as one good listener finds another good listener exceedingly dull 
company. That, too, is why Reserve thinks Vivacity a thing of infinite 
repose, and the Vivacious discover in the Reserved a silent strength more 
inspiring than eloquence. It is the man or woman whose gifts bring out 
all the best in us who we call ‘ charming,’ since further description seems 
unnecessary. Charming people, then, must perforce be natural, since 
artificiality raises between men a bulwark which not even Good Intent 
tions can scale. They must also be sympathetic, since those who demand 
sympathy are rarely more than tolerated. They must also possess 
‘ Understanding,’ since without Understanding one might as well reveal 
oneself to a brick wall. Granted these things, it will not take us very 
long to find them beautiful as well. 

Charm is not, then, an assertive quality, unless unselfishness can resemble 

* assertiveness.’ Rather is it the power to draw from others those natural 
qualities which otherwise lie dormant within them. We all yearn to be 
our true selves: the difficulty is that we receive so little encouragement 
from those with whom we are brought into contact. Thus, as I wrote 
before, we are all apt to find charm in those who, as it were, seem to 
possess the key to our hearts. We delight to talk to them, because with 
them we feel safe from that danger which besets us so often—the danger 
of being wilfully misunderstood, wilfully misjudged, our ‘dreams’ and 

* ideals ’ wilfully distorted. In their society we expand, living and speaking 
as free men would live and speak in a world of real freedom. Leaving 
them to return to the world is as a ‘ farewell ’ to liberty upon re-entering 
prison. Physically they may not attract us; though, such is the potency 
of Charm, that those we like we very soon begin to admire. Which 
is a blessing without the least disguise, since it enables those who 
have neither youth nor beauty nor wealth to recommend them to find 
friendship and love nevertheless. Charm is, as it were, the passion of a 

* soul ’—a passion in which there is nothing physical, but rather a mental 
and spiritual elation overwhelming the simple * call of the flesh.’ Thus 
real Charm is ageless, because it can triumph even over physical decay. 
The Charm of Innocence; the Charm of Youth;—these states do not really 


Charm 


21 


belong to those gifts of sympathy and understanding which are the two 
chief elements of Charm. Youth and Innocence leave us at last. Our 
regret over their departure is at best a purely academic sorrow. In the 
hearts of those who find us charming we know that we can defy Age. 
Our greater Knowledge will but give us a clearer Understanding, and for 
these things shall we be loved. Charm, in fact, is what maturity offers men 
and women in exchange for their Youth. In finding it, they escape that 
loneliness which is the one haunting terror of growing old. We speak, of 
course, of ‘ charming girls 1 and * charming young men,’ but what we really 
mean is that they are merely nice and young. ' Charming,’ indeed, is a word 
which we use as thoughtlessly as we use ‘ Love.’ We employ it to express 
prettiness and elegance, daintiness and good-nature. But none of these 
things necessarily express ‘ Charm ’ any more than do those couples, who 
make use of the trees in Hyde Park to cuddle beneath them, express Love. 
They are just words we employ because our Dictionary is limited and we 
cannot think of any other. Real Charm is something much more subtle than 
any of these things—more subtle, yet more potent. In fact, no one may 
pride themselves on the possession of Charm until Time has robbed them 
of all those ‘ minor beauties.’ Indeed, if I were asked to explain Charm— 
and in thus being asked I should be faced by the difficulty of explaining 
the well-nigh inexplicable—I should sum it up as a kind of super- 
intelligence of the ‘ soul ,’ an intelligence which combines the wisdom of 
the Heart with the wisdom of the World, the Wisdom of the Serpent 
with some of the guileless optimism of the Dove; above all, the gift of 
interpreting men and women to themselves, thus bringing to their troubled 
‘souls’ that sense of repose which comes from an opportunity to be 
completely natural, and, in being natural, to arise refreshed in body and 
spirit, ready for further efforts to solve the problem of true Happiness in 
Life. 











BEAUTIFUL WOMEN THE 
WORLD OVER 


I N the preceding pages I have tried to explain my belief that Beauty 
is some quality from which we seek inspiration, and that Charm is that 
natural gift which helps us to give inspiration to others. When Beauty 
is combined with Charm—a rarer combination than Society papers 
would lead us to believe—you have that quality, akin to genius, which 
has made a few beautiful women stand out, bold figures, in the long history 
of the world. 

In olden days, when monarchs were wont to wield their sceptres rather 
in the manner of a bomfythrower his bombs, it was sufficient for a woman 
to attract the Royal eye for her at once to gain the reputation of world' 
wide beauty. Royal mistresses were always lovely ipso facto. It was Use 
majestt to dispute the Royal taste in feminine beauty. All the same, as one 
gazes nowadays upon these sirens of a past age, one confesses to oneself 
that most monarchs set out on their voyages <2 CythSre in very rudely con' 
structed barques. Instinctively, however, we still try to see these ladies 
through Royal eyes, praising them accordingly. Maybe our professed 
admiration for them is all part and parcel of that glamour which we weave, 
even to'day, around our ‘ lesser ’ terrestrial deities. A lady mayoress still 
shares with duchesses the genius of always smiling * graciously.’ (Until 
such a time, of course, as, her husband being denied reflection, we desig' 
nate those signs of amiability on her part merely as varieties of the much' 
reviled ‘ grin.’) 

In this the Twentieth Century the aesthetic taste of monarchs is no 
longer approved unquestioningly by all the world. The power of a King’s 
mistress is at present more social than aesthetic. To'day the photographer 
is more potent in the creation of a woman’s reputation for beauty than 
the most autocratic emperor. Photography is no longer merely the busi¬ 
ness of exact reproduction—it is an Art, penetrating in its psychological 
illustration of character. As one gazes at those depressing likenesses of 


24 


The Boo\ of Fair Women 

lovely women who lived sixty years ago, one realizes at once the popu- 
larity of such painters as Winterhalter. He, at any rate, made his ‘ sitters ’ 
look like half-sisters to the Empress Eugenie, in a pose designed expressly 
for the decoration of a chocolate box. To-day the photographer has 
usurped the position of all but the greatest portrait-painters. And this, 
for the reason that the best modern photographers must also of necessity 
be artists. They must undergo something of the same rigorous training as 
painters. It is no longer a question of a good camera, a studio, and the 
exhibition case of ‘ samples ’ hung outside the front door. A modern 
photographer must understand all the nuances of light and shade, tone 
value, colour, pose, proportion. His studies must have the characteristics 
of first-class paintings—minus, of course, their colour. Nevertheless, this 
omission must be suggested through the variations of light and shade. It 
is because Mr. Hopp€ is also a painter that the reproductions in this book 
are so superb in all those details which go to make up perfection in por¬ 
traiture. They are not merely photographs (as we in our ignorance often 
designate photography as ‘mere’). They represent an art nearly akin to 
the finest portrait painting. Note, for example, the exquisite manner in 
which light and shade has been employed to throw into relief just those 
most lovely features which each face possesses individually, even the most 
beautiful. Note especially in this regard how cleverly the artist has 
caught the different characteristics which belong to each individual 
nationality—the Red Indian type of beauty, for example, as contrasted 
with that of the English. The difference is not so marked in the contour 
of the face, nor in the features, but in the eyes. There you have a whole 
volume of comparisons. Those of the Red Indian Beauty, exquisite in their 
shape, seem nevertheless to have, as it were, a shutter closed down behind 
them. They are unfathomable. The typical English eyes, on the other 
hand, how clear they are, how open; how we seem able to see right 
into them—deep down into the labyrinth of thought! Examine the 
Spanish portrait, and note how cleverly the artist has thrown into relief 
those most lovely characteristics of Spanish beauty—the formation of the 
chin, the eyebrows, the fascinating manner in which the hair is arranged 
as a framework for the modelling of the whole face. The Gipsy beauty— 
how admirably it shows the wayward grace of the Gipsy race; its wide 


25 


Beautiful Women the World Over 

and open countenance, suggestive of life led in the free air; the character¬ 
istic eyes, with their hint of Asiatic origin. Take also the picture of a 
typical Italian beauty—in this case Neapolitan in type. Even in this photo¬ 
graph one can almost see that blue-black tint so beautiful in the hair of 
Italian women. Note, too, the perfect Roman profile, the lovely upper lip, 
the sensitive nostrils—all so suggestive of a nation in which emotion and 
feeling are rarely suppressed. The Russian beauty—how attractive and 
how typical she is! Note the almost square jaw, the sensuous mouth, the 
upper eyelid slightly overhanging—a characteristic which lends to Russian 
women that unique fascination which belongs to the ‘ language of the eye.’ 
Indeed, it may be said that a Russian woman can express herself by her 
eyes alone, whereas an English woman tal\s, and yet is often misunderstood. 

In discussing these portraits with Mr. Hoppe he revealed to me a some¬ 
what unconventional belief—his belief that, in America, there is no such 
thing as a ‘ typical American face.’ Every type is represented over there, 
and no one predominates over another. American women differ from 
English women in a certain native ‘chic,’ approaching almost to the 
instinctive grace of the French woman; a certain intellectual ‘flair’; a 
* liveliness ’—if I may so express it—all typical of a mixed race, still young 
enough to be content to imitate unconsciously the type it most admires, 
and being able to do so since it possesses the inherited characteristics of so 
many different nationalities. 

This book gives us a wonderful example of representative French beauty. 
Note the mouth—how typical it is! The perfect poise of the head on the 
neck; the equally beautiful throat and shoulders. Moreover, this portrait 
is especially interesting, since it shows us how lovely white hair can be as 
the framework of a still youthful face. 

To contrast the Chinese and Japanese beauties is also interesting. There 
is a gentle sweetness about the Japanese face which is undoubtedly appeal¬ 
ing ; but it does not compare in character with that of the Chinese lady. 
The contour of the Chinese face, though less round, has a straighter nose, 
the modelling of every feature is firmer, infinitely less flaccid. It is 
interesting, too, to compare the Cuban beauty with that of the Hawaiian. 
The latter type is less classical; there is a stronger influence of the negro 
in it. Indeed, the Hawaiian type of beauty may be described as being only 


26 


The Boo\ of Fair Women 

just far enough removed from the negro to be pretty. In the Cuban 
woman the nose is more classically modelled; the whole contour of the 
face nearly resembles that of the European. Even in Western eyes she 
possesses charm. 

One hardly knows how to admire the Portuguese type of beauty. It is 
undoubtedly striking—though, if I may so express it, the model chosen by 
Mr. Hopp6 seems too unapproachable to make any facile appeal. It is, 
however, interesting in this portrait to observe traces of the Spanish type, 
combined with an undoubtedly Moorish influence as seen in the way the 
eyes are set in the face. The eyes, indeed, are the most fascinating part of 
the picture. Regard them well, they are uncanny; they are almost unreal. 
I have seen eyes like that in crudely carved wooden idols—so primitive 
in their modelling, yet so extraordinarily expressive in their regard: seeing 
eyes with, as it were, an impenetrable blind drawn close down behind 
them, shutting out thought. If not the most strictly beautiful, this Portu- 
guese type is one of the most psychologically interesting in the whole 
pageant of this book of beauty. 

And yet, how attractive in their variety all these faces are! Could 
anything be more alluring than the lovely eyes, the perfectly shaped 
mouth of the Chilian beauty, a beauty also strongly characteristic of the 
Spanish type ? How lovely, too, is the Greek face, with the nose, as it were, 
a deliberate continuation of the forehead. There is passion and grace in 
the Indian woman, with her lovely supple body, the expression of melan¬ 
choly in her face, those exquisite velvet eyes the size of which seem almost 
completely to dwarf the other features! 

Among such a galaxy of lovely women each man may surely find one 
who represents to him his physical ideal. The charm of these portraits is 
that each beautiful woman, typical of her race, possesses some unique 
beauty which belongs to her nationality alone. In each face there is a 
charm which more than compensates us for its deviation from the cha¬ 
racteristics we, as Englishmen, most especially admire. He must be prejudiced 
indeed in favour of one type who can deny a certain loveliness to any one 
of them. 

Very few there will surely be malcontent to leave this book to poster¬ 
ity as a portrait-gallery of some of the loveliest women representative of 


27 


Beautiful Women the World Over 

the world of our day. Naturally, there are other beautiful women in the 
world who are not included. This is one book—not a whole library! But 
who will dispute the right of those who do appear therein? No one— 
surely! 

And, after all, were a Martian suddenly to descend to Earth and demand 
of us representatives of the finest examples of the Human Race, should 
we not parade before him our most beautiful women ? 


RICHARD KING, 1922. 




Thirty-two Portraits 



i. AMERICA 



Lady Lavery 


/ 









- 




- 





✓ 


















. 
























* 




































































. 






... - 








. • * 






V* r 


■ 


.. 

















. 



















































. 












' 








. 



























































2 . 


AMERICA 


Mrs. L ydig Hoyt 












nn 
























































3. AMERICA 


Viscountess Maidstone 















































































































































































































































































































































■ 














































































































































































































4 . AMERICA 


Miss Malvina Longfellow 





































































- 































I 1 

I f ;■ ■ . 





















I 

; 

$ ' : :• . ’ . 






















- • • .... ..p: . ■ ■ 

, •„ .. . 

v. * • •* , ' - 




■ 










. 








































5. AMERICA 


Miss Marion Davies 




















1 







/ 

*»• - 



























' 1 













I 


*> 









»> . 


















•if 
































6 . RED INDIAN 


Princess White Deer 




























7 . ENQLAND 


‘Hebe’ 





































1 


8 . ENQLAND 


Lady Diana Duff'Cooper 













s 




%iV* ** 

. W * 


















A 


M 


-» 
























l 


t 






V 

*v 

:> 










P 






* 


* 


































ENQLAND 


Miss Qladys Cooper 








■ - .. • ,• ■" • 

. .- - . ■* •• ., 


.. • • ••• ■ • ■ 


7 


"Z .S - - - -r ' ' . *■ - " . •'”*% 

V- . . - • % 7 'V V' 


•V , 




r 

--V - • * - V 


: r 


■ , ' " 


.<•- . 








v - 

■ •• ..i • 

. - ' 










i. 














V 




- 


I* 












7 ' 






• V • 




•is 


'•* 


























■ 













* 








* 


- 






v. ' . ; 7 






*>v. 


i. * * J - 


<K . , 


y * 


' . 

7 ’ ; * . ■ . 1 ■ . "'7 - ■ . •. • •... ' - 

















• r 






V, <•- 




•r 






















s. 






7* 








• ■ - 

■ - . **’ "• 




i *« 




■ . 

. 


„ > 



- ■ 

• O . .y-* 






. ' •- 






• 

■ i - .' ■ 3 ~~- 

t <’■ ; _ v 

' ■ ' ‘ i. 

• 

- - *. ‘ 4 - * -s'. 


' 


>:.c 






■ n: ' • 4 




' v 





i 7 . 


, > ... *T -'r .. 

- * > 1 * . • 

.... ’i • - ■>- .• * 








■ * 





;*• , 

' 


• Vi, 








' ** * . * - 

,v • - * 






7 


* * • 

i , 7 ' ' ‘ * 


V • 










j- • 






























I o. 


ENQL AND 


Miss Kathlene M artyn 


























II. 


/ 


SCOTLAND 


Viscountess M asserene and Ferrard 



i 




% 









12 . IRELAND 


Miss Qrace D’Arcy 







































i 3 . FRANCE 


Mile. Raymonde Thuillier 























































i4. ALQIERS 


Madame Revalles 



■ 

1 *“ 


r V. - * -* ■ • - 



i 






















O? 


• •* - • 

*• 

in ■ V :• 














§ 


* 













.. r • -3 


. 














































r 


















































i 5 . SPAIN 


Senora Tortola Valencia 











mmmm 











16 . QIPSY 


Miss Fedora Roselli 











r..-. ■ . 






* • 






i 






•> 

























































« *• • 



















. 



















































































• w V . I 

•«.. ...... *.:■*•.- 

> v > 




















- . . 

• r « .. . 










• . • ./ - 

■ ■ 

.. f* ?. . Y* - • » 

t v- — •• 

,• \ "** — • *- s 

4 

f-i. 

























* 

-» 1 * iW. 


1 ->« - -»* * 








* <» 


















































i 7 . ITALY 


Signora Comanetti 




% 





























i8. PORTUQAL 


Sehora Maria Di Castellani 










































RUSSIA 


Mile . Fedorova 

































20 . 


POLAND 


Madame Mika Mikun 




• - 
















r 


4 



















0 












21 . 


NORWAY 


Miss Olga Morrison 
















22. SWEDEN 


Miss Anna Q. Nillson 



























































< - 







































































* 








































































* . 

* 

v * ■ 







































































































































































































































































' 


























































ARMENIA 


Armen Ter Ohanian 





, r - • * « , .. . - • 

•' • • - • 

. - 

r. 

» \ ,r 



* 






























, 


















■9d.il 




' ► 

. 




























































' fc • 


















. 

,t ‘ •* • 

,V : ' - • ‘ • 

’ mu » ... - - * * t • • — »■ 




* 


* 










v 












































































CHILE 


Countess Lisburne 
































































































* 






4 


25 - ECUADOR 


Mrs. Haddon Chambers 


































































































































































































, 




















) 









































26. INDIA 


Princess Monchsa 
















27. JAPAN 


Mrs . Tokugawa 










. 


























& 































■4k 








« 








l 

. I 














































•r ■ 

i - - 

























* 




^ . *■ — 

■. ' ,v - ’ ’* 














* it.>v *' - C * 








































28. CHINA 


i 

Mrs. Wellington Koo 



































-- 










\v. 


* 








■'■-Jr. **>-• w , ‘ i ^ '-• ~ •'• •? 


i. •• 








V - . 

. - * 


& 


v 


• “ t " 




















































•• 








, *'* • 

' 'a 








. 























' 








































3 o. HAITI 




* 




























































































y 

’ 












' ' 








* 






I • 

- • 












. 











' 

. 

’ ' ' 




























































% 









































































































t 



























































































































































































































































































* 












































































































































































- 


. - . 

* *• * ■ * ■ 




. 


















i 




























!- . . — • T * •' T-. 




J 



































































































\ —. 







* 


















* 


32. DUTCH WEST INDIES 


' * 





. 






r., ■■ ..■: ■ ■ - - ■ ' --V- *' *’ “ ' • ' 

. 


~/'V 



























' • 








. • 
















V:' 


•- 


• . 


'• 







„*» . 










•* 

%r _ 





f 






. - 


-• . , . "• 

. ' ■ . 

v ' ... ■ ’ 

, '. 






f i 1 X 




. 


* 






••• ■' 

. 




,-x 




■■ 


. ‘ 








■ r . 

• • , . j * 

• ' 

‘ 

■- . - » . * - 






i V-- 










V 










‘ • ' ' 




, ■ 

. . , 5 ,.. • 














• .1 


■ - 


'* - _ r- ' 

-* t. 




- : 


*’ j'r o 


A 


•» - -c 


: ■' & ■> . v* :% 

■ 

. 


' •. >. * 




■ . • 






# ,-- v ‘ • 
V - - 
















f 


-* > 

‘ * ■* v 

- x 


i'- * - 

. 

/ .. 


■ ■ 

•' * ----- • . • • • 






. 




j;-y • 


'■ ; 
, n * ^ 

• - .. ' ‘ 



. > A 


*«e 


^ * • • 
' * ' +.' 


■ ’}•• jS»- 

• C-'-. ' ”• ' ' • ' ; • . 

■ - : ¥• • -• - . .■ ;* 

: •• . . -v 






- * 


* 


r - ' 

- -T ■ 






-• - 


* 


- * • 


. - ' - - . ... ■ -> • • ■ • .-r- 

' -yk ' - ' * y-" ' ” ' . - • • • - *■ \ 

' - . ■ '. . ■ - ;: - 

. 

- i : . ' • • . ’* • > ’ • ' . *■ V 

• • - • V'. •' **'* . 




- . . ' ■' • -• ' ' . 
. ; .. 

i v. • - " 




. • 












■‘V 'i 

:v, 


~ /•* 
"•» ■ 


- *- 


. . . V -r. = 


-m 




t o3S-. 


.. 

■ - - - 




-i* 








































• . . 












































cr '». > * A 

*P A V 


> •sa&s j? ^ ‘W/ v v m *y&rs ,♦* v * * ->** 

<v ,g^ 'o..- a <r> ,o °^ °• * A v v. •* 

^ c o* t -^, ° 0 V ^ / s#/rZii: °° A \Awb ^ 



b A* * 
v* v 0 


S*V •. 


> ^vi • fA'Sb u 4 v -o' .a^b^ mSJtr ^ o_v ^_k * ■* v \r* ->> <r v k> ♦ 

*b, '°*»* A <b *'-•'' a°^ '“•»* .V s <**'••'* A° °V 


++# 


<b ' y 

A v o *» „ *b 

.j'P' • * v> 

_ A » ^SStoV: 7* 
oK .‘WmS. ^c 


^9 **<£■ A^glME^^ ^ ^ 

9 * A° *5v **•«'° 4 *P* ^ '"’' <*’ . 

> .A .V^A,** ^ A .VfiiPV. < *b -A ^.A^AV* ^ ^ * 




' “ 5 A° X*. 

XV .lie. V 


<>s7//ir^F > ■cl* «<* *%'ii^ss^ w w v * <£<w/n\^& * *** 

^\/ V«- ♦•’ v^V 0ci 

V s AVL'* <\> <A »’*°> > V % »* VI'* 



1 ^ ^ * 


0*1 



*bv* 


- ^ V 0 
** ^ 0 
- x> ^ a° ^ 

a* ^ c° °o 


0*1 



^ 0 ^ 



* A V<> ^ - 

* A * ’Ov • 

A *' .. • 

A* .^4;% ^ 

^ ^ 0 ^ 


, O o 


*• -.•** a°° ^ % * <’*’ % J *»«° 

^ & ,>Va» ^ A ^ 

aV^, o 

^ ^ *^P,‘ A> ^ a 

<> <(y ^ '••* v 

b# -“'% ^ /,c>4;/ °o ^ V 

j* ^ ^#////% ■* a v '$^\v\n^s ,/ ‘ /■ 

^ a o ^ 0 ^ 



o 

°i 

. 0 ^ ° 0 °1°a. ^ 

V ♦ _, .N v ^SXvVvn'^L^ T, 


a o^ : 



- • ^ 

.0^ ,» • «. v 4 ' * ‘ % Cv 

^ v ^ ^ • ,.-v a. 'j£mhZ+ *p 




^ C 


A 




;• 



A-,, A 


9 I 1 


<x? ^ 

/ ^ C- ‘ 

■ 'U 

V 4 s "' C 

> 4 



^ ^ °. 

4 ,G V o »•* <' 

0^ • 1 ‘ * •» ^O A> V c 0 " ° 

cr x o 4 * 

*>* o 




o M 0 


i * o 





// Wap v 
/!/<& ♦ 

& *4,^ 

1 

«. ■» 

& 

* *> 

v' 

/{« ^, 
Zho *v 



4 O. 

XA ^ * 



"o V 



A 'V « 

.V 'jA °. 

' a° °<u '“*' 


j9 

°o ’ > *?^ ^0° ^ *.,, 

**••'* c\ ,0 r . ’ * •» > 


4 O. 

XT w 



'V- 


o 1 


o H 0 


w < a 



vT 4 xV "V. 

* * A " 

<N <. AvX\\\T\'4l ^^ v ♦ 

** 0 « 


o V 



0 ^ t • l b!«. o 0 






V' 




4 O. 

' > Xv * 


“ ... 

* 0 “ 0 ° A® '4> * * ' 1 ’ A’ 

0 ^ »’•«- 0> v' 

❖ t -V > »V\V/k t ' ^ 



<»■ 

-A 

A V 0 

A? ^ °. 

<. <, *^.« 4 . 0 ^ '••». 

^ o“V-., ^ 0 ^ t* 1 "" ^b. 

X n v *^SnNaV*l J' ^ v * 

^ O ^ '^> A K J ^ 



* 4* 



o • * 


o v 





^c 


0*0 


^\ 




° i° v, A °^ *«. ® x° A c 

\/ .•». %a A- %/ /$k: %s •■ 

V-\. '»W^* aV^ A'fr 


A ^ ^ 



■ * ’ ^ 
4 ^ ^ 


t 1 0 



4 O. 

3A w 



<L •* 0 

_r,* .A ^ ' 

».** A <\ * 4 .0^ o '«'•*• A <\ *' 

dy o « c ^ 0 ^ . »■ * * ^ c> A c 0 “ 0 -• 

A • c-AWn ^ ■'r C w i ■» O . 1 ^ • w.^ »!_ 

n <. ^sS^Y^k* ^ . * J&(\[/ZZ*> * .. ^ ^ <5aAa\T\^l- *r 




O • 




O v 


V 


0*0 


♦♦ / o ' 

* •' ’ * 

. c V ^ft a^ * 

:Jl®v ^a 4, ; 



•A 0 





o V 



* r\ *'£CtU^f v L ^ O # ^ x. qV O ^ 

aQ° V *-’* x# / V *••'• °V * 

<y A*°/ ^ V s *!jnL% CA <0^ ♦ f • ®# *> v v ^ 

,A - \/ m v .-* 



,0 


o*o 


-• •* 



i • 







«l2*\ ; *P-^ \^WS: 4°* 

• \<+* ; jfe- W .*^fe; \«** -^* 

V\T* ,0^ 


\v * < V^ 

v ^ % 


o 


,0 V ° 5 ^ o«V* ** 0^ • l ". ^o A S 

vfi /• v * Jfr(\ ///s^> ■» <, ^sSvVV\V^L «* ^ * Q^rllr/P-> V . \1 4 


-$> C 



V V «. c^y// uia > V 

♦ 0 ^ **£#/»** ~ N 

r\ •' ^ *, * 4- 1 

^° ^ *" <y 

->> aP *i\?' *> V * s 

'• ^ ^ ♦Wa-. ^ A^ ** " 

* ^ * fsy^//A ° ^>x- v 

V ^ *4 


'o • i * 


V*'^V' / X'^V 

<* ' *‘ a0 O -•-* A ^ ^ s ' A* -»•» 

U - /frjj* * °o A 4, ^ ,0^ t - L '** ^O 

/- ^(i!//ys~> ■* «\ s ^SAxVh^j * rp-. v ♦ ae/fl77?r> * ^ 

j• -W -<^^p^: "b^ :^o* 

- - -®V ^ 0v ^ : .^UINVXN> > - - 

•'. > V ..AVL * cr ,0^ ,«••- ^ O' ^ 

V v *^^'* tr </ ^ > - 

° aV^ -^Si^ 0 o 

<> ' .♦ «* <0^ o -o , . - /V 

•:.v /..;£&.% y 


0 vx -V % ^ 

: o v ; 



0° ‘*y 

* rr. v^ ^ &>J 

-. -^o* : M 

: 4' °* - 

■ • o ^,4. '-*^v t ir*** „ y ~ , 

° A° V *•.-• ^ °0 - * 0 

* aP X *’**' > !'*■', \ 

•: \/ W *‘«te.'- ^ 


V A*’ 4> A* 

‘ jy & ‘o, ,.* a 

,0^ ^o .«> 

C O • r^xwv t 

. ^P(\ ///y~> -* \N V ^N\\\^ <Z» T 

-^o i 




wr ^o*< 

, -,^r- a \;^P'/ \‘->^-' a \-f?y 

#V#\/^ v ■• 


A v -V : Pii^ 0 cf>^ A- 

^ -v v a? V. oyjaw* xv 

* ^ <b- v ^.*‘ 4 jy ‘"o.'.’*' 1 a 

/••fe\ A 4 .-^ 


A^"V -* ° A ^ * wrWW * aV'A 1 

o K/ Jtu \n ♦ xV v*. » 

A <. *AtvT* o v x5 "o . * * x <* 

c ^ 0 '’, ^ ,0^ t » v '** *^G> A V o 0 ’"'* ^ 

-5- x c +W^V o J*» ■# 


• \^sp’S °o' 

A' - x- ^ *,- >T 

/ ^ 0 0 A 

< N % ^OsAA\ n'^L <4 *y v ■*• ^Hf/Vyb ^ '*' .-^ 

’bv* :®*. ^ 0 < ° 

s* 5 « ^ — - v*b~ rw • _ 


• X 

’ o i° v\ 

y. n,- v ^n\ VY V V <y. 4. 

<t? ° 0 p.0 ^ *♦ 

v'Ai^V-- A.....\ • 

• •' Jfe '- %A ,*>S&". A 

_ V 4T ^ • 

O • i - 4 A 

> v 


^ \\ \ \ U 1 14 / XX « 

-* ^MMM^ o r ^ 

* • * <y 

<i. y. 


. V F ‘•♦ S 4 V 

A^ c °A a - 0^ * k 

C* » Ak , 0 *jf(6/, 


X k ' * ^Q^6* ' r_u ’ ° 

* pw’ . * '^WS: 

%A .-afe \/ .^; %A .-m \ A -v 1 

?• S\ ' 



Cy> ^ o 

oT ^ 


>> 0*1 

^ V 


A* 

A u '«> '" , ’ A' °°^ %0 

—it W ;^HK; A" • «!' : «4 |fe - ' v 

Blllpy « <A U ^ “WMW* A*a r S <A l?AA#CxV » A 

*' «-.'••»’ A <^ ' <4 '*vRv\o' fr ^ ‘^ A C ^b ° '«'•.•:* ' A 

i < L t J*L*°o .°J^ *+ ^ e^ \ • w ' # 4 ^o x^ c 0 * 0 ♦ *<*>£ o^ • 11 • 4 ^o 

• ? v : ai': ^o 8 ja^: -<>v* :<^fe: ^o* * F ^' 

•.«••* a0° %>**•>■>•* ^ O o. **.-••* .0° 

<0~ »'*«» A - N 


/I l c» 4» * r " 

-> A .• -,,V*•'> 0 '.• ■.. 

'• \A ••*• \/ :'A. % 

‘ -W: .A '.»«».• ,A 




bSS> ' \ - ^\¥W/ * V-'N * C^r-rM^k ~ ^ ^ '{MM* 

a** '-Hr* /\ --w*' ^ v % llpy a 

A s ,^-.\V"‘a 4 ^-.V"‘o^- 

jN % '^NXXVh'V^ ^ ^ 4^ ic # ^Sx\\W ^ rsr C ♦ aft, 



^ • 

0 V 'O "o 9 A * <\ 

,-\V . t / 0 4 '^-x . <A V 0*0 

r C 

4 K 

^0^ *^ n w . — v • 

\A A*'-^' / \ ‘“A "o'- 

V ^ -iV y'a'l'. > V s , 4 jlVL% A 

* ^ 4m" a^ * ' 

>fv :mssm* v^ 

. <>^ 


V°“ ,k.. 4^o'-‘ V--V •■- V ' 





ifiniAtl 


mm 







> ' . ‘ * i { n t i‘ } i 

r i' 

t '’ fo »• 1 u 3 - 


; 1 , ; * ti • 


•' ■ 

* V * -" 


: v\ :« ; •:. ? m ; 


• ■ ' j ' j j • . ' 

% i • ‘ »v i : ■ ’ ; ■: ' .'' :•!?*# ; . : • ' •' ' • - ' . 

■ ; - ' . : ; ■ % *. " •. • • 4 * . , ■ . :,; • , •. 
, • y ■ - • i • ■ • - ■■I . . • 'Mr- i ■ . ' ‘ . * . 1 .•«*•• 


. J .. • . > . 


< ‘ = ,* v’' 


;« ;: \ 1' • 
y : • 
t ^ 

j • 

• 1 ' • : ‘ * 

v 'o ; 

1 

’i * i 1 ‘ : 

Si • 

• \ : VUr :• 

iS.v-iiv' 


,* t * Jr • S - 

• . » ; \ i 

. 


' 

: • 1 ’ ; \! 

v y »* * ^ ^ 


• 

- ' . • 

;\ i \ . 1.5 


i• ; • 


• ‘V' 

■; *.,< v, 
'• 'm- 

].' j ir :• i\-: i 


• hHu 

; V ; t . ' v ( • 

: % { W *. * - t < 

■ 

• -; i i *. s' 

•: u 

% 1 - s 1 

g 

Hill : 

\ | j 

ft} -j ‘mi 

» > ■ ^ i * • *' i 

■r u ,*;\- 



Ji'h tj 

■ * v: \ : '■ —. > “i l •• M , 4 : ; . r.t. • ' . 1 

N 

. . . ' . • - • • 

' \ •*i 5 ’■; * • ! M • *' i i i -11 '• : * \ ’ *. ‘ •• i • > I’ 5 ' ' ■ * ■‘ 1 : ■’ ' ■ ; • . !> i N ‘» 

Mi is ti ; > H 

. Si • V N U •,», . •• • •* - n-. . } v ; « .. > **.»'*•’ 

: } ; it}]} : . ill i : 

• ' ' ' ' 


• i <; : ’; ! * 
*5‘: 



.' - . Si . - • • J-r ji'J 

' 

: : !•’ \ ' 
a ■; ‘i: / \i ,* ' ■ • •/ •.: --J • ■ > ’ i • • • . • • , l < . 

J 1 i ; ; V ; J 1 , ‘ ■ ■ ■ 



B 

RA 

3Y OF CO^ 

GRESS 

in 

ill 

ill 

I! 

111 I II 

0 

040 055 510 2, 























